By Ben Highmore
Michel de Certeau is changing into more and more recognized as a cultural theorist whose methodologies might rival these of Foucault. during this attractive ebook, Ben Highmore presents a stimulating account of Michel de Certeau's paintings and its relation to the sector of cultural experiences. The publication explores these elements of de Certeau's paintings that either problem and re-imagine cultural reports, highlighting the capability this paintings has for providing a serious epistemology and a realistic ethics for the examine of tradition in the arts and arts extra mostly. Michel de Certeau: Analysing tradition offers an excellent creation to the paintings of this remarkable and critical philosopher.
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Extra info for Michel De Certeau: Analysing Culture
For an account of Mass-Observation see my Everyday Life and Cultural Theory: An Introduction (London and New York: Routledge, 2002), Chapter 6. Ways of Operating 19 providing the attention) ‘such a framework as this will be most useful to us as a starting point. 26 Mass-Observation here make a similar point to that made by Massumi above, namely that in the process of open investigation the conceptual apparatus must be altered – the investigation of new objects, new subjects and new worlds should make traditional forms of attention unrecognizable.
In this regard Antony Easthope can write for many when he declares that: Contemporary history-writing was developed essentially in the Victorian period with a mode of discourse very like that of the nineteenth-century realist novel. 24 Hayden White suggests a more varied perspective when he suggests that: When many contemporary historians speak of the ‘art’ of history, they seem to have in mind a conception of art that would admit little more than the nineteenth-century novel as a paradigm. And when they say they are artists, they seem to mean that they are artists in the way that Scott or Thackeray were artists.
Towards the mid to late 1960s and into the 1970s a number of theorists produced vigorous critiques of the foundations of conventional historiographical thought and practice. 12 But alongside its critique of the epistemological and processual basis of dominant historiographical practice, de Certeau’s long essay is also a subtle invitation to a practice that can accommodate such a critique at the same time as it inventively and sensitively oﬀers another approach to the business of ‘making and doing history’.